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On Xerox University Microfilms INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the moat adwancod technological meant to photograph and reproduce thit document have been the quality it heavily dependent upon the quality of the original submitted. The following explanation of techniques it provided to help you underttand merfcingi orputtemswhich may appear on thit reproduction. 1. The tign or "target" for pages apparently lacking from the document photographed it "Mining Pagt(t)". If it wet possible to obtain the mining pagu(i) or taction, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent to insure you complete continuity. 2. Whan an image on the film it obliterated with a large round black mark, it It on indication that the photographer suspected that the copy may have m during exposure end thus cause e blurred image. 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Xerox University Microfilms 900 North Zoob Rood Ann Aibor, Mlchlflin 4S100 76-24,672 REIDL, Jack Eric, 1941- SCHEMA AND CORRECTION: AN APPROACH TO SHIP IMAGERY IN GERMAN BAROQUE POETRY. The Ohio State University, Ph.D., 1976 Literature, modern Xerox University Microfilmst Ann Artor, Michigan 48108 @ Copyright by Jack Eric Reidl 1976 SCHEMA AND CORRECTION: AN APPROACH TO SHIP IMAGERY IN GERMAN BAROQUE POETRY DISSERTATION Presented in Partial Fulfillment of the Requirements for * • the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Jack Eric Reidl, B.A., M.A., 3.Ed. * * » * # The Ohio State University 1976 Reading Committee: Approved by Hugo Bekker Wolfgang Fleischhauer Gisela Vitt-Maucher Depart; i German ACKNOWLEDGMENTS I would like to acknowledge the many teachers and scholars who throughout the years kept ray interest J ji the pursuit of higher knowledge alive. I would like to express my gratitude to my parents, John and Grete Heidi. Without their encouragement and financial aid I could not have completed my education. I would like to thank my wife, Margaret, who knows better than anyone else the hours and offort it took to steer thiB study into its final port. Finally, I would like to apologize to my former colleagues and friends at University College whom X used as sounding boards. ii VITA July 26, 19^1 . Born - Gyonk, Hungary 1964. ........ B.A., University of Toronto, Toronto, Ontario, Canada 196^-1965 ..... Graduate School, University of Toronto, Toronto, Ontario, Canada 1966... M.A., University of Toronto, Toronto, Ontario, Canada 1 9 6 5 - 1 9 6 9 . Teaching Associate, Department of German, The Ohio State University, Columbus, Ohio 1969-1970 ..... Teacher, Glenview Park Secondary School, Galt, Ontario, Canada 1970-1971 ........ Teaching Associate, Department of German, The Ohio State University, Columbus, Ohio 1971-197 ^ . Academic Adviser, Assistant Supervisor/ Program Co-ordinator, University College, The Ohio State University, Columbus, Ohio 1 9 7 5 . B.Ed.,‘ Faculty of Education, University of Toronto, Toronto, Ontario, Canada 1975 . Teacher, Grey Highlands Secondary School, Flesherton, Ontario, Canada iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS........................................ ii VITA .................................................. iii INTRODUCTION.......................................... 1 Chapter I. THE CLASSICAL AND PATRISTIC TRADITION OF NAUTICAL IMAGERY................................. 13 II. MINOR ASPECTS OF THE CLASSICAL AND PATRISTIC TRADITION IN GERMAN BAROQUE LITERATURE........... 39 III. THE SHIP OF LIFE................................ 59 a. The Ideological and Cultural Environment of the Ship of Life Allegory................... 59 b. New Dimensions in the Basic Tenets of the Allegory of Life......... 61 c. The Receding Use of the Ship of the Church Metaphor. ................. 6*f d. Basic Tenets of the Ship of Life Allegory . ?8 e. The Function of Death in the Soul's Pilgrimage. 8^ f. The Function of Storms in Man's Salvation . 98 g. Conclusion. ......................... ll*t IV. THE SHIP OF LOVE........... 122 a. The Petrarchan Love System................... 123 b. Marriage Poems. ....I .............. 131 c. The Erotic Love System. ............ 1^2 d. Inherent Value Differences Among the Three Love Systems......... 155 V. THE SHIP OF POETRY............................... 162 VI. CONCLUSION....................................... 179 iv BIBLIOGRAPHY INTRODUCTION MAN'S PERCEPTION AND EXPRESSION OP REALITY Si his Geschichte der deutschen Literatur, Newald hypothesizes that the Thirty Years' War engendered in seventeenth century man an attitude toward life characterized by a feeling of helplessness and uncertainty as he is confronted by a situation over which he exerts no control. Newald implies that the frequent recurrence of the sea voyage as a symbol for man's lifo substantiates his contention* Bis zum Uberdruft wird die Schiffahrt mit Oder ohne Fortunasegol als Lebenssymbol abgewandelt. Damit wird der Sinn des irdischen Lebens in Frage ge- stellt, treten Verganglichkeit und Eitelkeit der Welt in den Vordergrund. Die fliichtige Zeit, das Dahinschwinden, der Blick auf das Ende sind Vor- stellungen und Eracheinungen, die man haufig an- trifft. 1 Although few critics would contest Newald*s view in the main, his argument would be more forceful if he could establish that the sea voyage as a symbol of man's life was indigenous only to this peri­ od in German literature, born of the times and appropriate for the times. But it is not. It is an inherited literary symbol, and Curtius argues convincingly that in interpreting a poem written before the eighteenth century, a critic should not look for the "personal experience" on which a particular poem is based, but at the theme the poet chose to treat. The exact manner in which a particular theme should be developed, including acceptable variants, was prescribed by handbooks of rhetoric, which listed the appropri­ ate topics, motaphoricB, tropes, etc., the poet ought to use. Cur- tius concludes that it is therefore impossible to draw any final conclusions about the "real" feelings of an author from his poet- ry. ^ A poet composes a poem on a given theme not because he feels that this theme is a valid expression of reality or truth, but be­ cause poets are expected to make verses about this theme. If Cur­ tius' assertions are valid, then Newald*s inferences drawn from the frequent use of the ship symbol are at best tenuous. The ship symbol is not a valid, truthful expression of Baroque man's predica­ ment, of his attitude toward life. Bather, when writing about the theme of life, it is expected that the ship symbol be used because it is one of the prescribed metaphors for dealing with the topic of life. Newald's claim may be correct, but his proof lacks substance. On the other hand, one could, of course, question the validity of Curtius' claims. However, his erudite elucidations, supported by a wealth of examples, are difficult to assail. And yet, it is possible to harmonize Newald*s and Curtius’ apparently contradic­ tory conjectures. To do so, one must examine the nature of man's perception and expression of reality. Two of the most influential modern studies in visual percep­ tion and art interpretation are E. H. Gombrich's Art and Illusion: A Study in the._Psychology of Pictorial Representation, and R. Arn- heim's Art and Visual Perception, A Psychology of the Creative Eye. Although both scholars are specifically concerned with a painter’s visual perception, of reality and his subsequent pictorial .repre­ sentation of this reality, their general theories, rooted deeply in the perceptual discoveries and theories of gestalt psychology which are now considered authoritative in this field, are applicable to language and literature as well. E. H. Gombrich explains that we do not learn to see but to discriminate. ’’Perception," it has been recently said, "may be regarded sb primarily the modification of an anti- ciptation." It is always an active process, con­ ditioned by our expectations and adapted to Bitu- ations.... We notice only when we look for some­ thing, and we look when our attention is aroused by some disequilibrium, a difference between our expectation and the incoming message. **• This discovery is the basis of Gombrich's theory of the "adapted stereotype." He maintains that "without a medium and without a schema which can be molded and modified, no artist could imitate reality" (Gombrich, p. 1*46). When an artist wishes to make a truthful record of a particular, individual form, he does not be­ gin with a visual impression' of the particular form but with his concept or schema of what the universal form ought to be. This schema of the universal form is the stereotype, a "pre-existing blank or formulary" (Gombrich, p. 7J). The distinctive features of the particular object are superimposed onto this formulary, that is, the formulary or schema is corrected to make it conform to the particular object. This process may be compared to that of the police artist-sketching a face from a verbal description. The artist begins with his schema of a typical head and face and then proceeds to change its features until he has captured enough dis­ tinguishing details to make an identification possible.
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